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Kérjen
árajánlatot! |
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| 1. | Aspan
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| 2. | Blues for L.W.
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| 3. | The Translators
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| 4. | Honky Tonk Haven
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| 5. | Viene Clareando
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| 6. | David
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| 7. | Negative Ions
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| 8. | Brise de Coeur
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| 9. | Loro
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Jazz
Fusion
Post-Bop
Recorded: Jun 1982-Jul 1982
JOHN McLAUGHLIN - acoustic and electric guitars
KATIA LABEQUE - Synclavier II, Steinway piano FRANCOIS COUTURIER - Fender rhodes, Prophet 5, Yamaha piano JEAN-PAUL CELEA - acoustic bass TOMMY CAMPBELL - drums
Though this fitfully inspired yet always intelligently musical record is an electric album, McLaughlin is more often heard on acoustic guitar in something resembling his electric manner, along with more pronounced classical and flamenco influences. This quintet, along with bass and drums, contained two keyboard players, Francois Couturier and the noted classical pianist Katia Labeque (who was McLaughlin's companion). Labeque, seated at a Synclavier and a grand piano, has acres of technique and almost no feeling for jazz, though she is adept at providing moody backdrops, and her rapid-fire synth runs and Jarrett-like etudes on the Steinway aren't too far away stylistically from McLaughlin's helter-skelter flurries. In a continued homage to McLaughlin's once and future employer Miles Davis, "Blues for L.W." brazenly quotes "Blues for Pablo," and sometimes the music texturally resembles the heavily synthesized things that Miles would soon be putting out.
---Richard S. Ginell, All Music Guide |
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